A Quote by Hildur Gudnadottir

Because in both TV and film every story under the sun is being told, and so music shouldn't be restricted to have to follow, like, the John Williams template or something. I love John Williams, but that sound doesn't suit every story.
There was no saying I could ever step in and do what John does, because it'd be really hard to be John Williams.
I think there has never ever been a career like John Williams'. That whole 'Jaws' phenomenon - there's nobody that knows how to use music like Spielberg, and John is just the perfect analog to Spielberg.
I love Glenn Gould. Max Steiner. John Williams. Louis Prima. Benny Goodman. Miles Davis. John Philip Sousa.
My education as a film composer, you can't not - if you like the orchestra like I do, if you are a symphonist like I am - you can't not listen to John Williams' work.
For every once upon a time there must be a story to follow, because if a story doesn't, something else will, and it might not be as harmless as a story.
Performing the American Music Awards and having Harrison Ford introduce you behind the John Williams orchestra for Star Wars, and then Meghan Trainor is in the front just standing up and like, 'I love you guys!' That was a huge moment.
My country stuff, it might sound like Hank Williams - that's just the way it is. But I'd rather sound like Hank Williams than Trace Atkins.
Each time I told my story, I lost a bit, the smallest drop of pain. It was that day that I knew I wanted to tell the story of my family. Because horror on Earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.
I'm big on story structure. I studied with John Truby, who mapped out story by means of moral wants and needs, and that's what I do. Hey, so does John Irving.
Thinking about making a love story without music was really frightening, Sciamma admitted. Because every love story we know, we think about 'Titanic' we think about the music, we think about 'Gone with the Wind' we think about the music, we think about 'E.T.' we think about the music, and every love story has its own tune, 'That's our song.'
-“Say no more,” Leif interrupted. “I understand. I will simply have to kill them all myself.” -"There he goes again. I’m telling you, Danny Elfman would love to get hold of those lines." -"Not John Williams?" -"If you’ve got some hopelessly overmatched heroes fighting evil and some Imperial types marching, John Williams is your guy. You need a song to make people reach for a box of Kleenex, talk to Randy Newman. But if you want creepy atmospherics and spine-shivering chords to back up your casual death threats, you gotta bring in Danny Elfman.
Something I grew up with is John Williams, of course, with 'Indiana Jones' and 'Star Wars.'
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
Because of John Williams, I began collecting all kinds of film scores. I listened to them when I fell asleep, and it was through my obsessive listening that I learned what all the different parts of the orchestra were. I learnt a great deal from him by just simply listening.
I had a conversation with John Cena, and I told him, 'If only I could be a giant with abs,' and he said, 'Maybe you could be a giant with abs.' That kind of got me thinking that maybe John was onto something, because when it comes to obviously being successful and marketable, John is one of the smartest people I've been around.
From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.
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